Tag Archives: distant

Photographs: Central California, Photographs: Nature, Photographs: Northern California, Photographs: Ocean & Coast

Wave, Horizon, and Clouds

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Wave, Horizon, and Clouds
A wave close to shore, the distant horizoon, and clouds from an approaching Pacific storm.

Wave, Horizon, and Clouds. © Copyright 2022 G Dan Mitchell.

A wave close to shore, the distant horizoon, and clouds from an approaching Pacific storm.

This peaceful looking scene may perhaps mislead just a bit — but not completely. I stood along the edge of a beach north of Santa Cruz to make this photograph, on a hazy, cloudy day when a Pacific weather from approached and the surf rose. I intentionally left out anything that would give a sense of scale here, so you are free to regard the height of the wave subjectively.

After decades of living close enough to the Pacific Coast to visit the shoreline regularly, sometimes I think that I may start to take it for granted. It happens. But inevitably I’ll look out toward that far horizon — whether from a high overlook or down near the water — and again ponder the immensity of the sea and the timelessness of these scenes. All of which seems like a fine thing to consider as we complete yet another loop around the sun.

G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.

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Photographs: Death Valley, Photographs: Desert, Photographs: Nature, Photographs: Southern California

Badlands Gully

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Badlands Gully
A deeply forrowed and eroded badlands gully, Death Valley National Park.

Badlands Gully. © Copyright 2022 G Dan Mitchell.

A deeply forrowed and eroded badlands gully, Death Valley National Park.

This scene may look familiar — I shared a vertical-orientation photograph of the same subject a few weeks ago. Often a subject strongly suggests either the vertical “portrait” orientation or the horizontal “landscape” arrangement. But sometimes a subject can work either way, albeit with different effects. Here I feel that the vertical interpretation more strongly followed the upward trajectory of the central gully, but that this version embeds it more firmly in the converging diagonal lines on the sides and emphasizes its curve.

This is not a major Death Valley feature. If you went to the location where I made the photograph you might not notice it. The gully is relatively small and high on a hillside, so I used a long focal length to frame it tightly. (I’m a big fan of long focal lengths for landscape photography.) It was early enough that the light was not yet intense and stark, and a bit of high cloudiness softened it a bit more.

G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.

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Links to Articles, Sales and Licensing, my Sierra Nevada Fall Color book, Contact Information.

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All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.

Photographs: Death Valley, Photographs: Desert, Photographs: Nature, Photographs: Southern California

Across Desert Hills

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Across Desert Hills
Nearly-barren desert hills rise toward distant, haze-obscured mountains.

Special Note: Patty and I are presenting a Silicon Valley Open Studios event today. Look us up (Dan | Patty) or contact us for information. Visit us and see our prints!

Across Desert Hills. © Copyright 2022 G Dan Mitchell.

Nearly-barren desert hills rise toward distant, haze-obscured mountains.

The desert landscape has many moods. When we are honest, I think most photographers will confess to a preference for focusing on aspects of this landscape that show only a part of this truth. (There’s nothing wrong with that, but viewers should be aware that photographs of the desert are not equivalent to the place itself.) We lean toward times and scenes where the colors are more attractive, we seek out subjects full of lines and interesting curves, we can be like to include the rarer spectacular skies rather than the common pure blue sky, and we can’t resist familiar and iconic subjects.

This isn’t one of those photographs, or at least I don’t think it is. At most times this succession of rising hills might barely attract your attention as you passed it on the way to something else. But I have photographed that “something else” plenty of times, so when I saw the late afternoon light slanting across the tops of the edges and fold, the bits of brighter vegetation, and the haze-obscured background I felt free to stop and look for a photograph.

G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.

Blog | About | Flickr | Facebook | Email

Links to Articles, Sales and Licensing, my Sierra Nevada Fall Color book, Contact Information.

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All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.

Photographs: Death Valley, Photographs: Desert, Photographs: Nature, Photographs: Southern California

Eroded Badlands Hills

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Eroded Badlands Hills
“Eroded Badlands Hills” — Deeply eroded badlands hills and more distant mountains in morning light, Death Valley National Park.

Special Note: Patty and I are presenting a Silicon Valley Open Studios event on May 21 and 22. Look us up (Dan | Patty) or contact us for information. Come and see our prints!

You could look at this photograph in several ways, but I think the complex patterns of this landscape are the main attraction. Recently I read an article about photography that suggested (to paraphrase) that landscape photography aspires toward abstraction. I like that idea a lot. I feel there should be more to a landscape photograph than an ostensible “record” of things in front of the camera. Ideally photographs can be viewed on multiple levels simultaneously — our relationship to the place and the way we see it, the sum of compositional elements, some level of mystery, suggestions of things not contained in the frame, emotional implications, and more.

This feels like one of those photographs to me. You could respond to the remarkable nature of the landscape that was in front of the camera. You could also consider the visual forms from an abstract perspective — the complex patterns of elements in contrary and parallel motion. You are free to ponder where this portrayal of the landscape fits into the larger scheme of landscape art. And who am I to try to stop you from looking for relations to other, larger things?

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G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” (Heyday Books) is available directly from him. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email

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